Michael Wesely : ‘Long Exposures’ (Photography)

‘Long Exposure’
9 August 2001 – 2 May 2003
The Museum of Modern Art, New York
Chromogenic color print

‘Long Exposure’
6 August 1999 – 6 December 2000
Leipziger Platz, Berlin
Chromogenic color print

‘Long Exposure’
4 April 1997 – 4 June 1999
Potsdamer Platz, Berlin
Chromogenic color print

‘Long Exposure’
9 August 2001 – 7 June 2004
The Museum of Modern Art, New York
Chromogenic color print

‘Long Exposure’
7 August 2001 – 7 June 2004
The Museum of Modern Art, New York
Chromogenic color print

For more than a decade, Michael Wesely has been inventing and refining techniques for making photographs with unusually long exposures-some as long as three years. In 1997 he began using this unique approach to photography to explore major urban construction projects, such as the rebuilding of Potsdamer Platz in Berlin. Buildings that are demolished or constructed over the course of Wesely’s long exposures often appear ghostlike, evoking simultaneously a vanishing and emerging presence.

[Extract : MoMA]

Michael Wesely : Website

Chris Engman : Photography

‘Equipoise’
archival inkjet print
36″ x 48″
2005

‘Transplant’
archival inkjet print
27″ x 36″
2005

‘The Playground’
archival inkjet print
30″ x 36″
2006

‘The Consummation’
archival inkjet print
28″ x 38″
2005

‘The Library’
archival inkjet print
38″ x 27″
2005

‘The Audience’
archival inkjet print
36″ x 30″
2004

“We often say, photographs “capture” time. But to capture something is not to understand it, because in the act of capture the thing is changed. Family albums, travel photographs- what they do with time is give it boundaries. They make memory possible by giving it shape. They describe an event or a place as if in the absence of time, as if time does not exist.” Chris Engman

Much of my recent work takes place in the desert at a site in eastern Washington that I found two years ago and has by its gravity kept me going back. The place, for me, has a psychologically charged but neutral energy, like an unformed dream or empty canvas waiting to be acted upon.

For inspiration, in addition to the desert, I turn to books: epic novels, epic histories, and fiction rich in visual imagery. I especially appreciate thinkers who address the grandest of human themes, which are also my themes: grandeur and the ordinary, struggle and futility, illusion and disillusionment, meaningfulness, age, and death.

Working in the desert has come to be a form of meditation. Days are spent, sometimes with a crew but more often in solitude, wordlessly driving, carrying supplies, erecting structures and sets, and studying the slow progress of the sun overhead and its all-powerful, shape-changing, comfort giving and taking effects. My state of mind while I work can range from joy and contentedness to emptiness and doubt, and I believe these shifting emotions, intensified by an intense place, carry through into the best of my eventual photographs. (artist statement)

Chris Engman : Website

Kitchen Label : Haruka Nakamura – ‘harmonie du soir’ (Tokyo)

haruka nakamura plays ‘harmonie du soir’ (from the album  ’twilight’ , Kitchen. Label, KI-004)

haruka nakamura : piano
Araki Shin : tenor saxophone
Akira Uchida : soprano saxophone
isao saito : drums & percussion
rie nemoto : violins

Kitchen-Label : live visuals

Live footage from ‘harmonie du soir’ at sonorium, Tokyo on November 26, 2010
(haruka nakamura – twilight PRAY deux – Kitchen Label showcase)

Live footage recorded by Daichi Kambayashi
Sound recorded live by sonorium
Produced by Kitchen-Label

Kitchen : Label & Studio

Jonas Fornerod : “The Centre of my World” (Photography)

‘untitled’
jonas fornerod
‘the centre of my world’
photography series

‘untitled’
jonas fornerod
‘the centre of my world’
photography series

‘untitled’
jonas fornerod
‘the centre of my world’
photography series

‘untitled’
jonas fornerod
‘the centre of my world’
photography series

‘untitled’
jonas fornerod
‘the centre of my world’
photography series

‘untitled’
jonas fornerod
‘the centre of my world’
photography series

Jonas Fornerod : Website

Phédia Mazuc : “Nos chairs disparues” (Photography)

Phédia Mazuc
‘Untitled’
(ongoing chairs series)
2008

Phédia Mazuc
‘Untitled’
(ongoing chairs series)
2008

Phédia Mazuc
‘Untitled’
(ongoing chairs series)
2008

Phédia Mazuc
‘Untitled’
(ongoing chairs series)
2008

Phédia Mazuc
‘Untitled’
(ongoing chairs series)
2008

Phédia Mazuc
‘Untitled’
(ongoing chairs series)
2009

Phédia Mazuc : Photography

Chris Metze : mixed media on board

untitled
mixed media on board
27 x 20 inches
2010

untitled
mixed media on board
27 x 20 inches
2010

untitled
mixed media on board
27 x 20 inches
2010

untitled
mixed media on board
27 x 20 inches
2010

untitled
mixed media on board
27 x 20 inches
2010

I’m interested in the non-verbal dialogue that occurs between line, shape, and color. The elements in my paintings are composed of shapes that are indistinct. They may appear to be something specific, but that remains in question. This uncertainty, as well as their interaction within what appears to be a landscape, is at the core of my paintings. I’m interested in the line that divides the perceived rational world from the inner landscape. In my work I’m focusing on composing and dissolving of forms, creating paintings that are both organic and structured, often whimsical. I’m inspired by relationship that exists between land and sky and the forms that link the two together; the gaseous quality of smoke or a mist combined with the rigid form of a tower; the expansiveness of a body of water met with undecipherable man made structures; to make solid the space that lays between two elements creating a unique form. [artist statement]

Chris Metze : Website

Chris Metze : Kathryn Markel Fine Arts